English Literature for Boys and Girls Part 63

Nowadays, during the debates in Parliament there are numbers of newspaper reporters who take down all that is said in shorthand, and who afterwards write out the debates for their various newspapers. In Johnson's day no such thing had been thought of.

He did not hear the debates, but wrote his accounts of them from a few notes given to him by some one who had heard them. The speeches which appeared in the paper were thus really Johnson's, and had very little resemblance to what had been said in the House. And being a Tory, Johnson took good care, as he afterwards confessed, "that the Whig dogs should not have the best of it." After a time, however, Johnson began to think this so-called reporting was not quite honest, and gave it up. He found other literary work to do, and soon, although he was still poor, he had enough money to make it possible for his wife to join him in London.

Among other things he wrote one or two poems and the life of Richard Savage, a strange, wild genius with whom he had wandered the streets in the days of his worst poverty. The tragedy called Irene which Johnson had brought with him to London was at length after twelve years produced by Garrick, who had by that time become a famous actor. Johnson had, however, no dramatic genius.

"When Johnson writes tragedy," said Garrick, "'declamation roars and pa.s.sion sleeps':* when Shakespeare wrote, he dipped the pen in his own heart." Garrick did what he could with the play, but it was a failure, and although Johnson continued to believe that it was good, he wrote no more tragedies.

*Garrick is here quoting from one of Johnson's own poems in which he describes the decline of the drama at the Restoration.

The story of Irene is one of the fall of Constantinople in 1453.

After Mahomet had taken Constantinople he fell in love with a fair Greek maiden whose name was Irene. The Sultan begged her to become a Mohammedan so that he might marry her. To this Irene consented, but when his soldiers heard of it they were so angry that they formed a conspiracy to dethrone their ruler.

Hearing of this Mahomet resolved to make an end of the conspiracy and rescue his throne from danger. Calling all his n.o.bles together he bade Irene appear before him. Then catching her by the hair with one hand and drawing his sword with the other he at one blow struck off her head. This deed filled all who saw it with terror and wonder. But turning to his n.o.bles Mahomet cried, "Now by this, judge if your Emperor is able to bridle his affections or not."

It seems as if there were here a story which might be made to stir our hearts, but Johnson makes it merely dull. In his long words and fine-sounding sentences we catch no thrill of real life. The play is artificial and cold, and moves us neither to wonder nor sorrow.

Johnson's play was a failure, but by that time he had begun the great work which was to name him and single him out from the rest of the world as Dictionary Johnson. To make a complete dictionary of a language is a tremendous work. Johnson thought that it would take three years. It took, instead, seven.

But during these seven years he also wrote other things and steadily added to his fame. He started a paper after the model of the Spectator, called the Rambler. This paper was continued for about two years, Johnson writing all but five of the essays.

After that he wrote many essays in a paper called the Adventurer, and, later still, for two years he wrote for another paper a series of articles called the Idler.

But none of these can we compare with the Spectator. Johnson never for a moment loses sight of "a grand moral end." There is in his essays much sound common sense, but they are lumbering and heavy. We get from them no such picture of the times as we get from the Spectator, and, although they are not altogether without humor, it is a humor that not seldom reminds us of the dancing of an elephant. This is partly because, as Johnson said himself, he is inclined to "use too big words and too many of them."

In the days when Johnson wrote, this style was greatly admired, but now we have come back to thinking that the simplest words are best, or, at least, that we must suit our words to our subject.

And if we tell a fairy tale (as Johnson once did) we must not use words of five syllables when words of two will better give the feeling of the tale. Yet there are many pleasant half-hours to be spent in dipping here and there into the volumes of the Rambler or the Idler. I will give you in the next chapter, as a specimen of Johnson's prose, part of one of the essays from the Idler. It is the story of a man who sets forth upon a very ordinary journey and who makes as great a tale of it as he had been upon a voyage of discovery in some untraveled land.

Chapter LXIX JOHNSON--THE END OF THE JOURNEY

"I SUPPED three nights ago with my friend Will Marvel. His affairs obliged him lately to take a journey into Devons.h.i.+re, from which he has just returned. He knows me to be a very patient hearer, and was glad of my company, as it gave him an opportunity of disburdening himself, by a minute relation of the casualties of his expedition.

"Will is not one of those who go out and return with nothing to tell. He has a story of his travels, which will strike a home- bred citizen with horror, and has in ten days suffered so often the extremes of terror and joy, that he is in doubt whether he shall ever again expose either his body or his mind to such danger and fatigue.

"When he left London the morning was bright, and a fair day was promised. But Will is born to struggle with difficulties. That happened to him, which has sometimes, perhaps, happened to others. Before he had gone more than ten miles, it began to rain. What course was to be taken? His soul disdained to turn back. He did what the King of Prussia might have done; he flapped his hat, b.u.t.toned up his cape, and went forwards, fortifying his mind by the stoical consolation, that whatever is violent will be short."

So, with such adventures, the first day pa.s.ses, and reaching his inn, after a good supper, Will Marvel goes to bed and sleeps soundly. But during the night he is wakened "by a shower beating against his windows with such violence as to threaten the dissolution of nature." Thus he knows that the next day will have its troubles. "He joined himself, however, to a company that was travelling the same way, and came safely to the place of dinner, though every step of his horse dashed the mud in the air."

In the afternoon he went on alone, pa.s.sing "collections of water," puddles doubtless, the depth of which it was impossible to guess, and looking back upon the ride he marvels at his rash daring. "But what a man undertakes he must perform, and Marvel hates a coward at his heart.

"Few that lie warm in their beds think what others undergo, who have, perhaps, been as tenderly educated, and have as acute sensations as themselves. My friend was now to lodge the second night almost fifty miles from home, in a house which he never had seen before, among people to whom he was totally a stranger, not knowing whether the next man he should meet would prove good or bad; but seeing an inn of a good appearance, he rode resolutely into the yard; and knowing that respect is often paid in proportion as it is claimed, delivered his injunctions to the ostler with spirit, and, entering the house, called vigorously about him.

"On the third day up rose the sun and Mr. Marvel. His troubles and dangers were now such as he wishes no other man ever to encounter." The way was lonely, often for two miles together he met not a single soul with whom he could speak, and, looking at the bleak fields and naked trees, he wished himself safe home again. His only consolation was that he suffered these terrors of the way alone. Had, for instance, his friend the "Idler" been there he could have done nothing but lie down and die.

"At last the sun set and all the horrors of darkness came upon him. . . . Yet he went forward along a path which he could no longer see, sometimes rus.h.i.+ng suddenly into water, and sometimes enc.u.mbered with stiff clay, ignorant whither he was going, and uncertain whether his next step might not be the last.

"In this dismal gloom of nocturnal peregrination his horse unexpectedly stood still. Marvel had heard many relations of the instinct of horses, and was in doubt what danger might be at hand. Sometimes he fancied that he was on the bank of a river still and deep, and sometimes that a dead body lay across the track. He sat still awhile to recollect his thoughts; and as he was about to alight and explore the darkness, out stepped a man with a lantern, and opened the turnpike. He hired a guide to the town, arrived in safety, and slept in quiet.

"The rest of his journey was nothing but danger. He climbed and descended precipices on which vulgar mortals tremble to look; he pa.s.sed marshes like the Serbonian bog,* where armies whole have sunk; he forded rivers where the current roared like the Egre or the Severn; or ventured himself on bridges that trembled under him, from which he looked down on foaming whirlpools, or dreadful abysses; he wandered over houseless heaths, amidst all the rage of the elements, with the snow driving in his face, and the tempest howling in his ears.

*Lake Serbonis in Egypt. Sand being blown over it by the winds gave it the appearance of solid ground, whereas it was a bog.

"A gulf profound as the Serbonian bog. . . .

Where armies whole have sunk." -- MILTON.

"Such are the colours in which Marvel paints his adventures. He has accustomed himself to sounding words and hyperbolical images, till he has lost the power of true description. In a road, through which the heaviest carriages pa.s.s without difficulty, and the post-boy every day and night goes and returns, he meets with hards.h.i.+ps like those which are endured in Siberian deserts, and missed nothing of romantic danger but a giant and a dragon. When his dreadful story is told in proper terms, it is only that the way was dirty in winter, and that he experienced the common vicissitudes of rain and suns.h.i.+ne."

I am afraid you will find a good many "too big" words in that.

But if I changed them to others more simple you would get no idea of the way in which Johnson wrote, and I hope those you do not understand you will look up in the dictionary. It will not be Johnson's own dictionary, however, for that has grown old- fas.h.i.+oned, and its place has been taken by later ones. For some of Johnson's meanings were not correct, and when these mistakes were pointed out to him he was not in the least ashamed. Once a lady asked him how he came to say that the pastern was the knee of a horse, and he calmly replied, "Ignorance, madam, pure ignorance." "Dictionaries are like watches," he said, "the worst is better than none, and the best cannot be expected to go quite true."

With some words, instead of giving the original meaning, he gave a personal meaning, that is he allowed his own sense of humor, feelings or politics, to color the meaning. For instance, he disliked the Scots, so for the meaning of Oats he gave, "A grain which in England is generally given to horses, but in Scotland supports the people." He disliked the Excise duty, so he called it "A hateful tax levied by wretches hired by those to whom excise is paid." For this last meaning he came very near being punished for libel.

When Johnson thought of beginning the dictionary he wrote about it to Lord Chesterfield, a great man and fine gentleman of the day. As the fas.h.i.+on was, Johnson had chosen this great man for his patron. But Lord Chesterfield, although his vanity was flattered at the idea of having a book dedicated to him, was too delicate a fine gentleman to wish to have anything to do with a man he considered poor. "He throws anywhere but down his throat," he said, "whatever he means to drink, and mangles what he means to carve. . . . The utmost I can do for him is to consider him a respectable Hottentot." So, when Johnson had called several times and been told that his lords.h.i.+p was not at home, or had been kept waiting for hours before he was received, he grew angry, and marched away never to return, vowing that he had done with patrons for ever.

The years went on, and Johnson saw nothing of his patron. When, however, the dictionary was nearly done, Lord Chesterfield let it be known that he would be pleased to have it dedicated to him.

But Johnson would have none of it. He wrote a letter which was the "Blast of Doom, proclaiming into the ear of Lord Chesterfield, and, through him, of the listening world, that patronage would be no more!"*

*Carlyle.

"Seven years, my Lord, have now pa.s.sed," wrote Johnson, "since I waited in your outward rooms and was repulsed from your door; during which time I have been pus.h.i.+ng on my work through difficulties of which it is useless to complain, and have brought it at last to the verge of publication without one act of a.s.sistance, one word of encouragement, and one smile of favour.

Such treatment I did not expect, for I never had a patron before.

"Is not a patron, my Lord, one who looks with unconcern on a man struggling for life in the water, and when he has reached the ground c.u.mbers him with help? The notice which you have been pleased to take of my labours, had it been early, had been kind; but it has been delayed till I am indifferent, and cannot enjoy it; till I am solitary, and cannot impart it; till I am known, and do not want it."

There was an end of patronage so far as Johnson was concerned, and it was the beginning of the end of it with others. Great Sam had roared, he had a.s.serted himself, and with the publication of his dictionary he became "The Great Cham* of literature."**

*A Tartar word for prince or chief.

**Smollett.

He had by this time founded a club of literary men which met at "a famous beef-steak house," and here he lorded it over his fellows as his bulky namesake had done more than a hundred years before. In many ways there was a great likeness between these two. They were both big and stout (for Sam was now stout). They were loud-voiced and dictatorial. They both drank a great deal, but Ben, alas, drank wine overmuch, as was common in his day, while Sam drank endless cups of tea, seventeen or eighteen it might be at a sitting, indeed he called himself a hardened and shameless tea-drinker. But, above all, their likeness lies in the fact that they both dominated the literary men of their period; they were kings and rulers. They laid down the law and settled who was great and who little among the writers of the day. And it was not merely the friends around Johnson who heard him talk, who listened to his judgments about books and writers.

The world outside listened, too, to what he had to say, and you will remember that it was he who utterly condemned Macpherson's pretended poems of Ossian, "that pious three-quarters fraud"* of which you have already read in chapter IV.

*A. Lang.

Johnson had always spent much of his time in taverns, and was now more than ever free to do so. For while he was still working at his dictionary he suffered a great grief in the death of his wife. He had loved her truly and never ceased to mourn her loss.

But though he had lost his wife, he did not remain solitary in his home, for he opened his doors to a queer collection of waifs and strays--three women and a man, upon whom he took pity because no one else would. They were ungrateful and undeserving, and quarreled constantly among themselves, so that his home could have been no peaceful spot. "Williams hates everybody," he writes; "Levett hates Desmoulins and does not love Williams; Desmoulins hates them both; Poll loves none of them." It does not sound peaceful or happy.

Some years after the death of Johnson's wife his mother died at the age of ninety, and although he had not been with her for many years, that too was a grief. The poor lady had had very little to live on, and she left some debts. Johnson himself was still struggling with poverty. He had no money, so to pay his mother's few debts, and also the expenses of her funeral, he sat down to write a story. In a week he had finished Ra.s.selas, Prince of Abyssinia.

The story of Ra.s.selas is that of a prince who is shut up in the Happy Valley until the time shall come for him to ascent the throne of his father. Everything was done to make life in the Happy Valley peaceful and joyful, but Ra.s.selas grew weary of it; to him it became but a prison of pleasure, and at last, with his favorite sister, he escaped out into the world. The story tells then of their search for happiness. But perfect happiness they cannot find, and discovering this, they decide to return to the Happy Valley.

There is a vein of sadness throughout the book. It ends as it were with a big question mark, with a "conclusion in which nothing is concluded." For the position of the prince and his sister was unchanged, and they had not found what they sought.

Is it to be found at all? The story is a revelation of Johnson himself. He never saw life joyously, and at times he had fits of deep melancholy which he fought against as against a madness. "I inherited," he said, "a vile melancholy from my father, which has made me mad all my life, at least not sober," and his long struggle with poverty helped to deepen this melancholy.

But a year or two after Ra.s.selas was written, a great change came in Johnson's life, which gave him comfort and security for the rest of his days. George III had come to the throne. He thought that he would like to do something for literature, and offered Johnson a pension of three hundred pounds a year.